Amy Winehouse In Her Own Words • 2015

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A journey into the BBC archives unearthing glorious performances and candid interviews from the golden age of jazz. Featuring some of the greatest names in American music, including the godfather of New Orleans jazz Louis Armstrong, the King of Swing Count Basie, Duke Ellington, Oscar Peterson, Dizzy Gillespie and Ella Fitzgerald.
Broadcasted as part of the Old Masters, Rising Stars: Jazz On BBC Four season, this film unlocks the BBC archives to explore the words and music of some of the greatest names in jazz.
The BBC soon moved on from Lord Reith's proclamation, made in the 1930s, that jazz was "a filthy product of modernity", and invited some of the legends from the golden age of American jazz to perform and talk on British television.
This film is a series of revealing portraits, from Louis Armstrong, jazz's first great soloist and global ambassador, to Duke Ellington, the ever-suave bandleader and composer who brought a new sophistication and ambition to the music. Count Basie is sheer swing, Dizzy Gillespie provoked a musical revolution with bebop, and Ella Fitzgerald is just incomparable.
Through long-forgotten archive and specially shot interviews, Jazz Legends In Their Own Words tells the story of an art form that has been called "America's gift to the world".

DJ and broadcaster Rita Ray travels to South Africa, home to distinctive vocal harmonies that have travelled all over the world. Visiting Johannesburg, Durban and Cape Town, she discovers the extraordinary songs and harmonies that have given this country a voice abroad. They have often carried messages about inequality and injustice at home, resulting in beautiful music with a real sense of purpose. South Africa is a diverse nation, and each tribal group has its own musical traditions.

There was nothing predictable about David Bowie. Everything was designed to intrigue, to challenge, to defy all expectations. But perhaps no period in David Bowie's extraordinary career raised more fascination, more surprise, and more questions than the last five years. This is an intimate portrait of one of the defining artists of the twentieth and early twenty first centuries, told by the people who knew him best - his friends and artistic collaborators.
This film takes a detailed look at Bowie's last albums, The Next Day and Blackstar, and his play Lazarus. In his final five years, Bowie not only began producing music again, but returned to the core and defining themes of his career. This film explores how Bowie was a far more consistent artist than many interpretations of his career would have us believe. It traces the core themes from his final works and relates them to his incredible back catalogue. His urge to communicate feelings of spirituality, alienation and fame underpin his greatest works from the 1960s to 2016. This is what lies at the heart of his success and appeal - music that deals with what it means to be human in a way that goes far beyond the normal palette of a rock star.
The film is not a comprehensive overview of his entire career, but an in-depth exploration of pivotal moments that show how the themes, the narrative and the approach is consistent - it is simply the palette that changes. The film includes every key member of the Next Day band, the Blackstar band and those who worked with him on the stage play Lazarus. In addition, old friends and colleagues are on hand to explore how the work of the last five years relates to Bowie's back catalogue. And, as in David Bowie: Five Years, there is a wealth of unseen and rare archive footage.

The composer examines the history of the past 100 years in music, known as the popular age. During this period, classical music - as it is now termed - seemed to be in decline, but Howard argues that while some cutting-edge works proved too challenging to be appreciated by the mainstream audience, the DNA of the genre is alive and well in musical theatre, cinema and popular music.

Suzy Klein reaches the 1930s, when the totalitarian dictators sought to use and abuse music for ideological ends. Suzy looks at the lives of Richard Strauss, Dmitri Shostakovich and Sergei Prokofiev, who produced some of the 20th-century's best-loved music whilst working for Hitler and Stalin. The political message of Peter and the Wolf is revealed as well as the secret code hidden in Shostakovich's quartets and Strauss's personal reasons for trying to please the Nazis. Suzy also uncovers why Hitler adored Wagner but banned Mendelssohn's Wedding March; how Stalin used music to subtly infiltrate minds; and why Carl Orff's Carmina Burana, a Nazi favourite, appeals to our most primitive senses. Suzy also raises some intriguing questions: Can we pin meaning onto music? What are the moral responsibilities of artists? And did the violence and tyranny of those regimes leave an indelible stain on the music they produced?